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There has always been music in Jaime’s life, whether it was singing church hymns in Latin, his parents playing the old upright piano in the parlor, or his Uncle Joe teaching him his first chords. When Joe entered the army, he left an old guitar with Jaime, and later started to send Jaime albums by the Kingston Trio, Peter, Paul & Mary and Bob Dylan. Then Jaime discovered the musician who, to this day, remains his all-time musical hero, Boston folkie Tom Rush. Tom was and is a genius at finding songs that speak universally.
Jaime listened and learned. His musical journey began with solo gigs in the coffeehouses of Boston and Cambridge. This was followed by several years as a bass player in the acoustic trio, Beckett, opening shows for Livingston Taylor, Doc Watson, Dave Van Ronk and Jonathan Edwards, among others. The 80’s found Jaime living in the South Carolina low country, spreading his rock and roll wings as lead singer for cult rockers “the Truly Dangerous Swamp Band”. He spent eight years with the Swamp Band, crisscrossing the country playing colleges and bars, opening shows for rockers such as Little Feat, Bonnie Raitt, Delbert McClinton and Paul Barrere’s Bluesbusters.
In the early 90’s, Jaime tired of the rock and roll road life and returned to his first love, acoustic music. In 1997 he moved to Santa Fe, New Mexico where, for the first time in his career, he began to seriously write.
He’s recorded nine solo albums so far, each filled with finely crafted songs that showcase his passionate voice and the varied musical influences he’s absorbed over the years. His last two albums, 2011's “the man with the time machine” and 2013's "unknown blessings, were both named Album of the Year by the New Mexico Music Awards.
Jaime tours the US and Europe, playing house concerts, festivals, and arts venues. Just Jaime and his wonderfully worn Taylor guitar. And the songs.
As Mark S.Tucker remarks in his FAME review of Jaime’s newest album, "the man with the time machine", “Michaels watches the side currents of life, not the hurtlingly frantic noise and images…far more the missed opportunities, the mistakes, the wrinkles in the heart. We may be living through the 21st century, but work like his takes us back to a Mayberry that's a lot scruffier around the edges, an indeterminate era when our fantasies about such things danced a little differently .”